CORY REYNOLDS | DATE 2/18/2021
Thursday, February 18 from 7:30–9PM, Harvard University's Carpenter Center for the Visual Arts presents a live Zoom conversation between artist Renée Green and art historian Gloria Sutton to celebrate the publication of Renée Green: Pacing. Please register here!
Over the course of two years as artist-in-residence at the Carpenter Center, Green produced a series of site-specific interventions, exhibitions, and public programs that culminated in the exhibition Within Living Memory (Feb 1–Apr 15, 2018). Renée Green: Pacing is the book that grew out of this multiyear project.
Renée Green: Pacing is a meditation spurred by inhabiting an architectural icon—Le Corbusier's Carpenter Center—while exploring the historical and institutional legacies of modernism's other forms, including cinema, visual art, poetry, music, and literature. Included in the book are reflections on a sequence of exhibitions that preceded Pacing. These include Facing in Toronto; Tracing in Como, Italy; Placing in Berlin; Spacing in Lisbon; and Begin Again, Begin Again in Los Angeles. Green will be joined in conversation by Gloria Sutton, catalogue contributor and the Carpenter Center Scholar-in-Residence over the course of Green’s Pacing residency.
Please note this virtual event requires pre-registration. Please contact email@example.com with any questions ahead of this event.
RENÉE GREEN is an artist, writer and filmmaker known for her highly layered and formally complex multimedia installations in which ideas, perception and experience are examined from myriad perspectives. Via films, essays and writings, installations, digital media, architecture, sound-related works, film series and events, her work engages with investigations into circuits of relation and exchange over time, the gaps and shifts in what survives in public and private memories, as well as what has been imagined and invented.
GLORIA SUTTON is Assistant Professor of Contemporary Art History and New Media at Northeastern University. Author of The Experience Machine: Stan VanDerBeek’s Movie-Drome and Expanded Cinema (MIT Press, 2015), her scholarship also appears in Mainframe Experimentalism: Early Digital Computing and the Experimental Arts (University of California Press, 2012) and Future Cinema: The Cinematic Imaginary After Film (MIT Press, 2003).
She has published numerous exhibition catalogue essays on artists including Kirsten Everberg (Pomona College Museum of Art), Renée Green (Musée Cantonal des Beaux-Arts, Lausanne), Karl Haendel (Museum of Contemporary Art Los Angeles), Carsten Höller (New Museum), Laura Owens (Kunsthalle Zurich), Kerry Tribe (American Academy Berlin), and contributed to Ice Cream: Contemporary Art in Culture (Phaidon, 2007) and Vitamin Ph, New Perspectives in Photography (Phaidon, 2006). Her current book project, titled Nodes and Networks: Contemporary Art After the Internet, recasts the current debates about analogue vs. digital not as stable media, but as durational behaviors.
Sutton received her PhD from the University of California, Los Angeles and has been a fellow at the Whitney Museum of American Art Independent Study Program and the Getty Research Institute.
CARPENTER CENTER FOR THE VISUAL ARTS, HARVARD UNIVERSITY
Pbk, 9 x 11.75 in. / 300 pgs / 266 color.
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